뮤지컬 노래에 사용된 ‘Verse-Chorus’형식의 변용과 특징

이은혜(Eun-Hye Lee) 한국엔터테인먼트산업학회 2021 한국엔터테인먼트산업학회논문지 Vol.15 No.7

본 연구는 뮤지컬 노래에 사용된 음악 형식인 Verse-Chorus 형식의 변용과 특징을 고찰하기 위함이다. 뮤지컬 노래의 음악 형식은 인물의 극적 상황을 관객에게 효과적으로 전달하기 위한 구조적 표현기제이다. 연구를 위해 Verse-Chorus 형식과 변용을 탐구할 수 있는 대표적인 형식을 4개의 유형으로 나누고 각각의 특징을 살펴보았다. 첫째, 뮤지컬 초기의 단순한 상황과 인물을 설명하는 반복 형식인 Verse-Chorus 형식, 둘째, 단순한 인물을 설명하면서도 Bridge의 약간의 변형을 통해 분위기를 환기시키고 지루함을 탈피하기 위해 사용된 Verse-Bridge-Verse 형식, 셋째, Chorus 직전에 위치하여 Verse와 Chorus를 연결하고 드라마와 화성적 진행을 매끄럽게 하여 인물의 정서적 상승을 도모하는 Verse-Prechorus-Chorus 형식(Verse-Prechorus-Chorus Form), 마지막으로 인물의 복잡한 심경에 대한 갈등과 그에 대한 결정이 공존하는 상황을 나타내기 위해 사용된 확장된 Verse-BG대사-Chorus 형식에 대해 고찰하였다. 이처럼 뮤지컬 노래는 다양한 형태의 Verse-Chorus형식이 사용되고 있다. Verse-Chorus의 형식성과 변용은 음악과 드라마 전개가 불균형의 상태가 되지 않는 음악의 논리와 극의 논리가 균형 상태를 이루게 한다. 본 연구를 토대로 뮤지컬 노래 형식 변용에서 나아가 음악 형식과 극 구조의 상관성에 대한 발전적인 연구가 이어지길 기대한다. The purpose of this study is to examine the transformation and characteristics of the Verse-Chorus form. The musical form of a musical song is a structural mechanism for expression to effectively convey the dramatic situation of the characters to the audience. This study identified four types of representative forms that can be used to explore the transformation with the verse-chorus form and examined their characteristics. First is the Verse-Chorus form which repeats the description of simple situations and characters in the early stage of the musical. Second is the Verse-Bridge-Verse form which is used to evoke the atmosphere and escape boredom through a slight transformation of the bridge while explaining a simple character. Third is the Verse-Prechorus-Chorus form, which sits just before the chorus, connects the verse and the chorus, and promotes the emotional rise of the characters by smoothing the drama and the harmonic progression. Lastly, this study examined the expanded Verse-BG dialogue-Chorus form used to represent the situation in which conflicts about the complex feelings of the characters and the decisions about them coexist. As such, musical songs use various types of verse-chorus forms. Through the formality and transformation of the verse-chorus, the logic of the music and the logic of the drama are balanced so that the development of the music and the drama does not enter the state of imbalance. Based on this study, further progressive research can take place on the correlation between musical form and dramatic structure, beyond the transformation of musical song form.

中国の漢詩と近代律詩について

宋協毅 단국대학교 일본연구소 2012 일본학연구 Vol.35 No.1

중국의 유구한 역사 속에는 선사시대의 신화, 선진시대(先秦時代)의 산문, 한왕조(漢王朝)의 부(賦), 위진남북조의 고체시(古体詩),당의 율시와 절구, 송의 사(詞), 원의 곡(曲), 명과 청의 소설이라는 문학형식이 존재했다. 본고에서는 한시(율시를 중심으로)와 근대시(이른바「자유시」와「신율시」등을 포함하여)의 계승관계와 그 전개, 영향 등에 대해서 고찰해 보기로 하겠다. 율시, 절구 등의 한시에는「압운(押韻)」「평측(平仄)」「대구(対句)」등의 엄격한 규칙이 있고, 고대 중국 문인들, 두보, 이백 등을 대표로 하는 시인들은 수많은 시를 남겼다. 그 한시도 송나라 때에는 장단구(長短句)의「사(詞)」로 변형되었고, 원나라 때는「곡(曲)」이 유행했으며, 명과 청나라 때는 소설이 주류를 이뤘다. 20세기 초의 민국시대(民国時代)에는「신문화운동」이 발흥하여 신시(新詩)와 자유시가 대두되기 시작하였다. 그 신시와 자유시 중에는 율(律)과 운각(韻脚)등을 모두 무시한 자유로운 형태의 것도 있는가 하면, 이른바 신율시도 있었다. 이 신율시파의 대표적인 인물은 쉬즈모(徐志摩)씨와 원이둬(聞一多) 씨로, 각각 다른 시풍을 보인다. 원이둬의 시를 읽어 보면, 행진곡 풍의 리듬, 획일적인 정연함과 밸런스를 느낄 수 있다. 그에 반해 쉬즈모 씨의 시는 유려한 멜로디가 들리는 듯 하며, 음절의 정연함과 그 변화가 느껴진다. 구율시(旧律詩)를 잘게 분쇄하여 자수도 행수도 압운도 평측도 지키지 않는 이른바 신체시에 반해, 신율시는 자수, 행수, 압운과 평측 등에 구속되어 있는 구율시와 “무정부주의적 신시”의 중간적인 위치를 주장하며 구율시의 정수를 받아들여 신시운동을 리드해 나갔다. 구율시는 일본ㆍ한국이라는 인접국가에 큰 영향을 미쳐, 한국과 일본의 문인들이 읊은 율시는 실제로 뛰어나며, 게다가 일본의 와카와 하이쿠, 한국의 시조 등에도 큰 영향을 미쳤다. 21세기에 들어서도 2007년에 중국 현대 율시학회 등이 주최하는「신율시 및 율체신시 이론 심포지엄」이 열렸고, 2008년에는 “중국 격율체 신시창작연구회(中国格律体新詩創作研究会)”가 발족되어 신율시의 밝은 미래를 전망해 볼 수 있다. During the Chinese history, there has ever existed quite a few genres such as the mythology in the prehistoric era, the essay in pre-Qing era, Fu in Han Dynasty, Old Style of Poetry in Southern and Northern Dynasties, Eight-line Regulated Verse and Curtailed Form in Tang Dynasty, Fixed Rhythm Songs in Song and Yuan Dynasty and novels in Ming and Qing Dynasty.In this paper, I would like to try to analyze the succession of the modern Chinese poems from those traditional genres, focusing on the effect of Eight-line Regulated Verse on the poems. To summarize the evolution of Chinese traditional poetry, with the strict rules of Regulated Verse such as metre, tone pattern and couplet and countless great works by famous poets, say, Li Bai and Du fu, these genres has been guaranteeing Chinese poets’ social status as bureaucrats. The prosperity of Regulated Verse was then replaced by Fixed Rhythm Songs during Song and Yuan Dynasty. Consequently, novels became the mainstream in Ming and Qing Dynasty. In the head of the 20th Century, asa result of New Culture Movement, post classical poetry has been born. In the senew types, some works has been made by completely neglecting all those classical rules of Chinese poetry; some are the very verses regulated by new rules, which is New Regulated Verse. Amongst the then poets, Xu Zhimo and Wen Yiduo were the representative soft hose who supported New Regulated Verse. Both of their styles were different respectively. As we read the poems by Wen Yiduo, we will find their march-like rhythm and exquisitely ordered structures. On the contrary, we will discover the melodically and neatly changing syllable of Xu Zhimo’s poems. Compared to the so-called “new poems”, which destroyed the classical rules of Chinese poetry, new regulated verses are thought to stand on the cut-off rule between them so as to lead the New Poetry Movement. It is universally accepted that Regulated Verse has had a far-reaching impact on adjacent countries, Japan, Korea, etc. Not only are the regulated verses by Korean and Japanese poets not bad atany standard, but also classical Chinese poetry has influenced Tanka, Haiku and Sijo. Even in this century, the association of Chinese modern regulated verse held the symposium, New Regulated Verse and its theory, in 2007. The birth of the Board of creation of Chinese New Regulated Verse in 2008 has proven the bright future of New Regulated Verse.

고전문학 발전의 실상과 연구 과제-운어(韻語)의 발달에 대한 일고찰-

심경호 국어국문학회 2018 국어국문학 Vol.0 No.185

In pre-modern Korea, the hierarchy of literary genre was firmly maintained by the state power. Meanwhile, the hierarchy of the popular literature and of the non-political literature were advanced, resisting the hierarchy that was asserted by the state power. A rich tradition of classical literature was built by a struggle and a cross between them. A verse word was on the top of the hierarchy of the literary genre that state led. Generally speaking, in 7~8 century, ancient Korea officially approved a verse form as a highest class in literary expressions. A verse word was restrained by a prosody. Bureaucrat-intellectuals had to use verse in various national ceremonies and diplomatic documents, and also composed bouts-rimés and verses of distributed rhyme. They composed and recited ceremonial orations in verse at public ceremonies or community occasions, wrote prayers at ceremony for a completion of a building, which entangled verse and parallel writing at the same time, composed epitaphs for funerary literature. A verse word was solely for the intellectual class, and it was a symbol of literary power. Meanwhile, commoners had been established their own aesthetic world through non-verse literature or instrumental literature such as examinational verse. It is necessary to reconfirm that there was an hierarchy of state- centralized administrative literature in pre-modern Korea, and the literary power put a verse word on the top of the line in means of narration. Tracing the process of development in state-centeralized administrative literature and opposing non-administrative literature can be a key measure of describing the history of Korean classical literature. 근대 이전의 한국은 국가권력에 의해 문학 갈래의 위계가 공고하게 유지되는 한편, 민중적 문학 위계, 비-정치효용적 위계가 그것에 저항하며 발전해 나왔다. 고전문학의 풍부한 전통은 이들의 길항과 교섭에서 이루어졌다. 국가가 주도한 문학 갈래의 위계화에서 상층에 놓인 것이 운어(韻語)였다. 대체로 보아 7, 8세기에 이르러 고대한국은 운어 형식을 최상급 표현형식으로 공인했다. 운어는 외재율의 속박을 지닌다. 관료-지식인들은 국가의 각종 의식과 외교적 문서에 운어를 사용해야 하고, 공적 연회나 사적 모임에서 화운(和韻)이나 분운(分韻)을 했다. 공적 의례나 향촌 행사에서는 운문의 제문을 짓고 운문・변려문 착종의 상량문을 지어 낭송했으며, 묘도문자의 명(銘)을 작성했다. 운어는 지식층의 전유물이었으며 문화권력의 상징이었다. 한편 서민들은 비-운어의 문학, 혹은 과시(科詩)와 같은 도구적 문학의 자기화를 통해서 스스로의 미학세계를 구축하여 나갔다. 근대 이전의 한국은 국가중심의 경국문학(經國文學)의 위계가 가설되어 있었고, 국가의 문자권력은 표기서사 방식과 관련하여 운어(韻語)를 상층에 두었다는 점을 재확인할 필요가 있다. 국가중심의 경국적(經國的) 문학 위계와 그것에 대항하는 비-경국적(非-經國的) 문학의 발전과정을 추적하는 것이 한국고전문학사를 서술하는 한 가지 유력한 방안이 될 것이다.

장르 의식의 소산으로서의 정지용 동시 연구

김미혜 한국초등국어교육학회 2009 한국초등국어교육 Vol.40 No.-

In children’s verse as a sub-category of children literature, the most important elements are ‘children’ as a being with ‘children’s mind’ and the use of a poetic language fit for children’s level. Accordingly, it is the core of discussion on Jeong Ji-yong’s children’s verse to examine how he understands children’s mind and what linguistic.emotional devices he uses in order to narrow the distance to children, the major readers of children’s verse. When we examine the prose included together with the five pieces of children’s verse in the first issue of Hakjo, we can read the writer’s selfconsciousness and his consciousness that the emotion to be contained in children’s verse is the pure and simple mind in childhood that cannot be recovered now in adulthood. Through this, we can find that Jeong Ji-yong did not try it as a practice for writing adults’ verse but created children’s verse based on his deliberation on what contents children’s verse genre should have and in what form. Researchers’ opinions are not consistent on the number of Jeong Jiyong’s children’s verses. This study sorted out his children’s verses based on:(1) whether they contain emotion and consciousness understandable to children readers; (2) whether they satisfy children readers’ interest in the aspects of linguistic expression and structure; and (3) whether the writer’s genre consciousness is disclosed. According to these criteria, we classified 19 pieces of Jeong Ji-yong’s works into children’s verse, and analyzed how Jeong Ji-yong’s genre consciousness of children’s verse was embodied in these verses. From the aspect of form, Jeong Ji-yong’s verses are similar to other children’s verses in those days in that they pursue a typical meter, but they also show correlation with folk songs as they take the form of 2.foot matching stanza rather than 7.5 meter. In this sense, we can say that Jeong Ji-yong’s children’s verse is diachronically connected to orally transmitted children’s songs. Other distinctions of his children’s verse from adults’ verse are the use of plain poetic language and the use of sound symbols for producing an animated environment. From the aspect of contents, on the other hand, his poems reveal strongly the absence of family and the resultant sense of loss. It may be valid to view that this is not from his real life events but from the influence of the trend of children’s verses in his days. It is because the sorrowful emotion arising from the absence of family members was a tendency observed commonly in children’s songs and verses in those days. It is also a characteristic of the contents of his children’s verse to listen to children’s life emotion and to describe innocent children sympathizing with nature. 정지용이 동심을 어떻게 이해하고 있는지, 그가 동시의 주된 독자인 아동과의 거리를 좁히기 위해 어떠한 언어적·정서적 장치를 사용하고 있는지를 살피는 것은 정지용 동시 논의의 핵심적인 부분이다. 따라서 이 글에서는 학조 창간호에 수록된 정지용의 시편과 줄글을 중심으로 동시에 대한 정지용의 장르 의식을 규명하고, 그것이 작품 속에 구체적으로 어떻게 반영되어 있는지를 살펴보았다. 먼저 이 글에서는 (1) 아동 독자가 이해할 수 있는 정서와 인식을 담고 있는지,(2) 언어 표현과 구성 면에서 아동 독자의 흥미를 충족시키는지, (3) 작가의 장르 의식이 드러나는지를 기준으로 정지용의 동시 작품의 목록을 정리하였다. 이에 따라 그의 작품 중 총 19편을 동시로 규정하였다. 형식면에서 정지용의 동시는 정형적 율격에 대한 지향을 보인다는 점에서 당대 동요 장르들과 유사하지만, 7·5조가 아닌 2음보 대응 연첩의 형식을 취하고 있어서 민요와의 상관성을 보이고 있다. 소박한 시어의 사용이나 발랄한 분위기를 연출하는 음성상징어의 사용 등도 그의 동시가 성인시와 차별화되는 점이다. 내용면에서는 아동의 생활에 기반한 정서를 다루고 있는 것이 특징이다. 그의 동시 중에는 가족의 부재와 그로 인한 상실감을 진하게 드러내는 작품이 많는데, 이는 그의 생애사적 사실에 기인한다기보다는 당대 동시들의 작품 경향으로부터 영향을 받은 것으로 보아야 할 것이다. 아동의 생활 정서에 귀를 기울이고 자연과 교감하는 천진난만한 아동의 모습을 보여주는 것 또한 정지용 동시의 특징이다.

12가사(十二歌詞)의 음악적 형식 고찰

문봉석 이화여자대학교 음악연구소 2023 이화음악논집 Vol.27 No.1

This study examines the musical form of the Sibigasa (twelve Gasa or twelve lyrical songs). Considering that the pieces belonging to Sibigasa are composed of several verses, I looked at the formal structure of the verses and the format according to the repetition of the verses. The main findings of this study are as follows. The verse type was classified into 3-phrase type, 4-phrase type, 6-phrase type, and 8-phrase type according to the length of the phrases. Each type took a two-part form or a three-part form by two to three paragraphs with a specific theme or function. What is important is that they are distinguished according to the presence or absence of repetitive clauses such as refrain. Depending on the repetition structure of several verses, Sibigasa are divided into verse type and modified verse type. Specifically, Jukjisa and Kwonjuga are included in the verse type, while the remainder were in the modified verse type. Among them, the modified verse type were further subdivided according to the arrangement relationship between the original verse, the modified verse, and the new verse. As a result, it was confirmed that the form of the Sibigasa fully reveal their characteristics when comprehensively describing the form of the verse and the form according to the repetition structure of the verse. 본 연구는 12가사의 음악적 형식을 살펴본 것이다. 여러 마루로 이루어진 12가사의 특성에 따라 마루의 형식 구조와 마루의 반복에 따른 형식 구조를 함께 살펴 그 형식을 새롭게 정의해보고자 하였다. 본 연구의 주요 결과를 요약해보면 다음과 같다. 12가사의 마루는 악구 수에 따라 3악구형, 4악구형, 6악구형, 8악구형으로 분류되었다. 이들은 특정 주제나 기능을 가진 2-3개의 단락들로 인해 2 부분 형식 또는 3부분 형식을 취하였다. 2부분 형식은 ‘전렴+후렴’, ‘환두+ 환입’, ‘전부+후부’, 3부분 형식은 ‘전부+중부+후부’, ‘전부+후부+후부’, ‘전렴1+전렴2+후렴’, ‘전렴+전렴+전렴(후렴)’으로 구성되었다. 마루의 반복 구조에 따라 12가사는 유절형식과 변형유절형식으로 나뉘었다. <죽지사>와 <권주가>만 유절형식이고, 나머지는 변형유절형식에 해당되었다. 이중 변형유절형식은 다시 원 마루, 변주 마루, 새로운 선율 마루의 배열 관계에 따라 단순 교차형, 반복 교차형, 순환 교차형, 머리 삽입형, 꼬리 삽입형으로 세분화되었다. 마루의 형식 구조와 마루의 반복에 따른 형식 구조를 종합하여 12가사의 형식을 정의한 결과, 예를 들어 <황계사>는 “3악구형의 마루로 된 ‘후렴이있는 변형유절형식’으로, 원 마루와 변주 마루가 반복적으로 교차하는 1단형식”이고, <수양산가>는 “3악구형의 마루로 된 ‘환입이 있는 변형유절형식’ 으로, 새로운 선율 마루가 꼬리에 삽입된 3단 형식”으로 설명할 수 있었다. 이와 같은 설명 방식은 12가사의 형식 구조를 보다 포괄적이고 입체적으로 드러낸다는 점에서 기존의 방식과 차별화되었다.

근대시사에 있어서의 시조부흥운동의 성격에 관한 연구

이명찬 한국시학회 2019 한국시학연구 Vol.- No.57

In the history of world literature, a free-verse movement started from the battle with the antecedent cultural custom, the fixed form of verse, handed down from ancient times in certain cultures. The various grounds supporting this hypothesis can be found in the European countries that guided the modern times and our neighbors, like Japan and China. The problem is Korea. The orthodoxy till now is that early poets, including Ju Yo-han, Kim Eok, and Hwang Seok-woo led the free-verse movement, following the movement for destroying the tradition in French symbolical poetry. However, if someone asks us, “What is the traditional form of verse our modern literary movement destroyed?”, we do not have an answer. It is easy to answer Sijo or Gasa as an example, but strictly speaking, both were styles that had not reached a fixed form of verse. Sijo had a critical limitation that it is not a subject of literary reading but lyrics of a song, while Gasa was very likely to reach a fixed rhythm in that it is a genre read aloud, but it died out, not being able to become a fixed form of verse as it moved on the road of lengthening like Travel Gasa or Exile Gasa. At the early stage of the history of our modern poetry, since there is no model of poetry to fight and overcome, there was an extreme pattern, such as being bound by the rate of the number of letters like 4-4 or 7-5 or clinging to prose poetry. The modernization of poetry did not progress through the stages from the fixed form of verse through free verse to prose poetry as often said. The free verses we see today were born through the process of ambiguous and tough seeking between ‘making a fixed form of verse’ based on the rate of the number of letters and ‘writing prose poetry.’ “The Revival Movement of Sijo” in the mid-1920s can be said to be a literary movement born in the process in which our early literary people who had been swayed between ‘making a fixed form of verse’ and ‘writing prose poetry’ doubted if Sijo would be the traditional fixed form of verse they should fight against. The discussion about Sijo, which began like this was concluded by Garam Lee Byong-gi in the 1930s, but that was not at a satisfactory level. What leaves something to be desired the most is that the method for reading Sijo was not developed and popularized formally, for it means that the golden opportunity was lost to completed a fixed form of verse in our own spoken and written language. Therefore, in the future, school education should put an end to the exploration of literary history in 100 years of modern times by paying attention to the job of developing a model of reading Sijo. 세계문학사에 있어 자유시 운동은 특정 문화권에 고래로부터 전래해온 정형시라는 문화적 전제 관습과의 싸움에서 시작되었다고 이해되어 왔다. 근대를 선도한 유럽의 여러 나라들 그리고 이웃 일본이나 중국의 경우에도 이 설을 지지하는 정확한 근거들을 발견할 수 있으므로 문제될 것이 없다. 문제는 우리나라의 경우이다. 주요한, 김억, 황석우 등의 초기 시인들이 프랑스 상징시의 전통 파괴운동을 본받아 자유시 운동을 주도해 왔다는 것이 그 동안의 통설인데, 우리 근대 문학 운동이 파괴한 전래의 정형시가 무엇인가 물으면 대답할 것이 없기 때문이다. 시조나 가사를 근거로 들기 쉽지만 엄밀히 말해 두 가지 다 정형시에 도달하지 못한 양식이었다. 시조는 문학적 읽기의 대상이 아니라 노래의 가사(歌詞)라는 치명적 한계가 있었고, 가사(歌辭)는 소리 내어 읽는 장르라는 점에서 정형률에 이를 확률이 높았지만 기행가사나 유배가사처럼 장형화의 길로 나아감으로써 정형시가 되지 못한 채 생명을 다하고 말았다. 우리의 근대시사 초기는 싸워 극복할 시의 모형이 없는 관계로 4.4, 7.5처럼 자수율에 얽매이거나 아예 형태를 버린 산문시형에 매달리는 극단의 양태를 보였다. 흔히 아는 대로 정형시-자유시-산문시의 단계를 거쳐 시문학의 근대화가 진행된 것이 아니라, 자수율 기반의 ‘정형시 만들기’와 ‘산문시 쓰기’ 사이에서 어정쩡하고 힘든 모색의 과정을 거치며 오늘날 우리가 보는 자유시가 탄생되었던 것이다. 1920년대 중반의 <시조부흥운동>은, ‘정형시 만들기’와 ‘산문시 쓰기’ 사이에서 흔들려 왔던 우리 초기 문학인들이, 시조야말로 그들이 맞서 싸워야 할 전래의 정형시가 아니었을까 의심하는 과정에서 탄생한 문학 운동이라고 할 수 있다. 이렇게 시작된 시조에 관한 논의는 1930년대 가람 이병기에 의해 일단락되었지만 만족할 만한 수준은 아니었다. 그 중에서도 가장 아쉬운 부분은, 시조의 읽기 방법을 정형적으로 개발하여 대중화 하지 못했다는 점이라고 할 수 있다. 우리말과 글로 정형시를 완성할 수 있는 절호의 기회를 놓친 것이기 때문이다. 따라서 앞으로의 학교 교육은 시조 읽기의 모형을 개발하는 일에 관심을 기울임으로써 근대 백년의 문학사적 탐색에 종지부를 찍을 필요가 있다.

고시조와 현대시조, 그 이어짐과 벌어짐의 사이

이완형(Lee Wan-Hyung) 한국시조학회 2008 시조학논총 Vol.28 No.-

이 논문은 현대시조가 고시조의 계승인가 재창조인가를 가름하는 것에서 비롯되었다. 모든 문학이 다 그렇듯이 본래의 형식적인 틀을 되받는다는 차원에서 보면 계승이자 보전이지만, 내용이나 사상, 표현 방법, 심지어 모양새까지도 새로운 전환을 꾀한다는 차원에서 보면 철저한 변혁이자 재창조라 할 수 있기 때문이다. 이 말은 현대시조가 자유시와의 변별성을 찾기 위해서는 개성성, 자유성, 현대성을 동시에 아울러야 하지만, 시조이기 위해서는 전통성과 형식성, 시조성을 반드시 얹혀야 한다는 것과 다를 수 없다. 이 점은 현대시조의 명칭과도 긴밀하게 맞물린다. 현대시조가 현대시조로 불리기 위해서는 고시조와의 상관성에서 찾아져야지 그렇지 않을 경우 현대시조로서의 명칭은 다소 부정적일 수밖에 없다. 현대시조가 고시조의 전통성이나 형식성, 시조성에서 완전히 탈피했다면 그것은 어디까지나 자유시조라는 명칭에 더 가깝다. 그러한 차원에서 현시조의 탄생이라는 말도 자유스럽지 못하다. 탄생이라는 말이 어울리려면 고시조의 틀을 완전히 벗어나야 한다는 부담을 안기 때문이다. 그리고 그렇게 된다면 더 이상 시조가 아닐 뿐더러 자유시와의 변별성 문제도 떠안아야 한다는 점에서 더욱 그렇다. 그러므로 현대시조가 나름대로의 정체성을 확보하고 현대인들의 관심을 촉발시키기 위해서는 고시조의 맛깔스러운 형식미를 채우면서 여기에 현대인들의 호흡과 감수성을 얹힐 수 있도록 해야 한다. 그렇지 못할 경우 시조와 자유시 모두에게 냉대를 당하게 될 지도 모를 일이다. The conflict of modern Korean verse has been started from a presupposition that it has to succeed to tradition and put modern poetic sense together at the same time. It is more from the view that if it loses its tradition. not only it can be seen as Korean verse anymore. but also it is hard to find a discrimination from free verse. Also. in case that it cannot satisfy modern poetic sense, it cannot also satisfy moderners' aesthetic demand. so the existence of Korean verse can be obscure. So, for modern Korean verse to radiate its characteristics freely, it has to emphasize acceptance and durability of its construction. three lines and six phrases, on the other hand it has to sublate the attitude to understand modern Korean verse as a modification of old Korean verse. Also, the intention to depart unconditionally by regarding Korean verse as opened form and the recognition to follow closed, conservative and stiffened poetic form are not unrelated to this. In terms of this, to open one-hundredth anniversary of birth of modern Korean verse extensively and to choose 〈Hyuljuk-ga (血竹歌)〉 as the first work don't seem free. To recognize 〈Hyuljuk-ga〉, whose writer is indistinct and discrimination from Korean verses of the flowering time is hard to be found in social aspect, as modern Korean verse is problems. Also, to use the word, modern, which means a complete severance with old Korean verse, as a name of genre is also a problem. And. there is a chance to find other works, so the seriousness is getting worse. As the Korean verse is completed by arranging poetic words in a row within three lines, this can be fundamental factor to have discrimination from other genres. Therefore, in case it is not possible, the identification of Korean verse can be broken and the genre can be mixed with free verse. Then, it may be better to be called as 'free Korean verse'. So, synthetic examine to put old Korean verse and modern Korean verse together and to combine Korean verse chang (traditional narrative song) from musical side has to be accomplished urgently. By doing so. Korean verse may be able to near to us as national culture, national poetry and national music.

해방 후 아동문학 ‘운문 장르’ 명칭에 대한 사적 고찰

김제곤(Kim Je-gon) 한국아동청소년문학학회 2009 아동청소년문학연구 Vol.- No.5

The purpose of this study was to investigate the titles of the verse genre in children’s literature after the independence of Korea. For that purpose, the genre titles in verse collections and magazine contents and the genre classifications in theory books were examined from 1946 to 1988. First in the verse collections, there was a shift from “collections of children’s songs” to “collections of children’s verse” around 1960. Then in the magazine contents, there was a mix of children’s songs, boys’ poems and children’s verse until the 1950, and the term of children’s verse became the single title around 1960. And the genre classifications in theoretical books took a rather complex aspect unlike the trend in the creations and magazine contents. They used children’s songs, children’s verse, and free verse (children’s free verse) until the 1950s. In the early 1960s, however, a new trend emerged which tried to divide children’s songs into songlike and poetic children’s songs and children’s verse into songlike and poetic children’s verse. Thus a new term children’s song poems appeared and was followed by a group of terms used by Lee Jae-cheol and others such as traditional children’s songs, creative children’s songs, free children’s verse, and children’s prose poems, which added new genre concepts to the verse genre of children’s literature. In an attempt to prompt fundamental changes to the old instruction for poetry writing, which had children mimic children’s songs and verse created by adults under the name of children’s songs composition or children’s verse composition, Lee O-deok presented a new concept of juvenile poems. In the 1970s some argued that a new term of “poetry for children” should be introduced to expand the concept of children’s verse and raise the quality level. The trend since the 1980s has been adding new terms suggested in the creation reality while inheriting the various concepts of the verse genre created in the 1960s and 1970s. Some examples are children’s sijo being established as one of sub-genres of children’s song poems and more concrete concepts being defined for fairy tale verse, long-length children’s verse and children’s epic verse.

『韓詩外傳』과 『法句比喩經』의 비교 연구

신은경 한국비교문학회 2008 比較文學 Vol.0 No.45

The Hansi oejeon, written by Hanyoung in the West Han period, is one of the three annotative books of the Sigyong("the Book of Songs") in the early stage. The Beopgu biyugyung serves also as an explanatory book for the Beopgugyung or the Dhammapada("an Anthology of Statements of Buddha's Teaching"). The Sigyong and the Beopgugyung, the anthologies respectively of Confucius and Buddhist poems, were difficult to understand, to the extent that they needed complementary explanations. The Hansi oejeon and the Beopgu biyugyung, which appeared to meet this demand, differ from other explanatory books in that they assume the form of narratives and this characteristic makes them count as literary works. Although the two books did not influence each other, they share similarities in many ways. First, as mentioned above, the two texts serve as annotations on the Sigyong and the Beopgugyung, both of which are composed only of verses, and have been considered as sacred books in the Confucius and Buddhist cultures. Secondly, an individual text of the Hansi oejeon, 310 texts, and the Beopgu biyugyung, 73 texts, consists of a prose and a verse or more. The prose and verse are based on a metaphoric relation where the prosaic part functions as a vehicle and verse part does as a tenor. Thirdly, the prosaic parts of the two books generally assume the form of parables for common people, specifically non-educated people, to easily understand the profound meanings of the verses of the sacred books. On the basis of these similarities, this article intends to compare the two discourses in terms of genre, polyphonic structure, and the characteristic of the mixed style of prose and verse. In genre the prosaic parts assume the pattern of didactic narrative mode and verse parts the didactic lyric mode. This kind of didactic element provides a ground that we can read these discourses as allegories. As discourses with mixed style of prose and verse, they can be categorized as "an annotative type" among 6 types of the mixed-style discourses. The comparative study on the two texts which, with no influential relationship with each other, have so many commonalities, reveals an universal facet of human thought, particularly in religious sphere. The Hansi oejeon, written by Hanyoung in the West Han period, is one of the three annotative books of the Sigyong("the Book of Songs") in the early stage. The Beopgu biyugyung serves also as an explanatory book for the Beopgugyung or the Dhammapada("an Anthology of Statements of Buddha's Teaching"). The Sigyong and the Beopgugyung, the anthologies respectively of Confucius and Buddhist poems, were difficult to understand, to the extent that they needed complementary explanations. The Hansi oejeon and the Beopgu biyugyung, which appeared to meet this demand, differ from other explanatory books in that they assume the form of narratives and this characteristic makes them count as literary works. Although the two books did not influence each other, they share similarities in many ways. First, as mentioned above, the two texts serve as annotations on the Sigyong and the Beopgugyung, both of which are composed only of verses, and have been considered as sacred books in the Confucius and Buddhist cultures. Secondly, an individual text of the Hansi oejeon, 310 texts, and the Beopgu biyugyung, 73 texts, consists of a prose and a verse or more. The prose and verse are based on a metaphoric relation where the prosaic part functions as a vehicle and verse part does as a tenor. Thirdly, the prosaic parts of the two books generally assume the form of parables for common people, specifically non-educated people, to easily understand the profound meanings of the verses of the sacred books. On the basis of these similarities, this article intends to compare the two discourses in terms of genre, polyphonic structure, and the characteristic of the mixed style of prose and verse. In genre the prosaic parts assume the pattern of didactic narrative mode and verse parts the didactic lyric mode. This kind of didactic element provides a ground that we can read these discourses as allegories. As discourses with mixed style of prose and verse, they can be categorized as "an annotative type" among 6 types of the mixed-style discourses. The comparative study on the two texts which, with no influential relationship with each other, have so many commonalities, reveals an universal facet of human thought, particularly in religious sphere.

자유시 ―찰스 번스틴의 경우

구자광 한국현대영미시학회 2019 현대영미시연구 Vol.25 No.2

The aim of this paper is to understand American language poet, Charles Bernstein’s ‘language poetics’ through Walter Benjamin’s ‘pure language’ and Giorgio Agamben’s ‘inoperativity.’ According to Benjamin, language for communication and information through ‘expression’ and ‘meaning’ of subject’s intention is language constructed by bourgeois concept of language. Benjamin’s ‘pure language’ means communicability freed from ‘intention’ and ‘meaning’ of bourgeois language and ‘expressionless’ language indifferent to expression. Agamben’s ‘pure’ can be attached to what practices ‘inoperativity.’ Agamben’s ‘pure capability’ is capability of incapability which can render its own capability inoperative. Agamben names this capability of its own incapability as ‘sui generis praxis.’ Human subjectivity is the place where this ‘sui generis praxis’ happens. Agamben’s ‘inoperativity’ ‘suspends’ specific and concrete operations and ‘exposes’ possibilities of ‘different’ operations at the same time. Benjamin’s ‘pure language’ is communicability as communication of communication exposed through suspension of specific and concrete communication based on expression and meaning of bourgeois language. Language in Bernstein’s ‘language poetics’ is language freed from bourgeois language and ‘expressionless’ language indifferent to expression and language operated by Agamben’s ‘inoperativity.’ Bernstein’s ‘language poetics’ ‘suspends’ ‘Official Verse Culture’ based on bourgeois language and ‘exposes’ possibilities for ‘different’ ‘foreign’ languages. Bernstein’s ‘language poetics’ halts ‘free verse’ by poet subjects presupposed by ‘Official Verse Culture’ and ‘lyric’ of ‘expression of universal human feeling’ by ‘Official Verse Culture.’ ‘Free verse’ by ‘language poetics’ is ‘free verse’ freed from ‘free verse’ and ‘lyric’ by poetics of ‘Official Verse Culture.’ ‘Free verse’ of ‘language poetics’ where ‘sui generis of language’ happens can be said to be the place where ‘sui generis praxis’ of free verse happen.